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UCLA UCLA Encyclopedia of Egyptology Title Cartouche Permalink https://escholarship.org/uc/item/3g726122 Journal UCLA Encyclopedia of Egyptology, 1(1) Author Spieser, Cathie Publication Date 2010-01-23 Peer reviewed eScholarship.org Powered by the California Digital Library University of California CARTOUCHE اﻟﺨﺮطﻮش Cathie Spieser EDITORS WILLEKE WENDRICH Editor-in-Chief University of California, Los Angeles JACCO DIELEMAN Editor University of California, Los Angeles ELIZABETH FROOD Editor Area Editor Individual and Society University of Oxford JOHN BAINES Senior Editorial Consultant University of Oxford Short Citation: Spieser, 2010, Cartouche. UEE. Full Citation: Spieser, Cathie, 2010, Cartouche. In Elizabeth Frood, Willeke Wendrich (eds.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz001nf61t 1063 Version 1, January 2010 http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz001nf61t CARTOUCHE اﻟﺨﺮطﻮش Cathie Spieser Königsring, Kartusche Cartouche The cartouche is an elongated form of the Egyptian shen-hieroglyph that encloses and protects a royal name or, in specific contexts, the name of a divinity. A king’s throne name and birth name were each enclosed in a cartouche, forming a kind of heraldic motif expressing the ruler’s dual nature as both human and divine. The cartouche could occur as a simple decorative component. When shown independently the cartouche took on an iconic significance and replaced the king’s, or more rarely, the queen’s, anthropomorphic image, enabling him or her to be venerated as a divine entity. Conversely, the enclosure of a god’s or goddess’s name in a cartouche served to render the deity more accessible to the human sphere. اﻟﺨﺮطﻮش ھﻮ ﻋﺒﺎرة ﻋﻦ ﻋﻼﻣﺔ اﻟـ ِ<<ﺷﻦ>> اﻟﮭﯿﺮوﻏﻠﯿﻔﯿﺔ وﻟﻜﻦ ﻣﻄﻮﻟﺔ وﺗﺴﺘﺨﺪم ﻋﻼﻣﺔ اﻟﺨﺮطﻮش ﻟﺘﻄﻮﯾﻖ وﺣﻤﺎﯾﺔ إﺳﻢ ﻣﻠﻜﻲ أو ﻓﻲ ﺑﻌﺾ اﻻﺣﯿﺎن إﺳﻢ إﻟﮭﻲ . ﻛﺎن ﯾﻈﮭﺮ ﻛﻞ ﻣﻦ إﺳﻢ اﻟﻌﺮش وإﺳﻢ اﻟﻤﻠﻚ ﻋﻨﺪ اﻟﻤﻮﻟﺪ داﺧﻞ ﺧﺮطﻮش ﻣﺸﻜﻼً ﺷﻌﺎر ﯾﻌﺒﺮ ﻋﻦ إزدواﺟﯿﺔ طﺒﯿﻌﺔ اﻟﺤﺎﻛﻢ ﻛﺎﻧﺴﺎن وإﻟﮫ. وﯾﻤﻜﻦ ﻟﻠﺨﺮطﻮش أﯾﻀﺎً أن ﯾﻈﮭﺮ ﻛﻌﻨﺼﺮ زﺧﺮﻓﻲ ﺑﺴﯿﻂ، وﻟﻜﻦ ﻋﻨﺪﻣﺎ ﯾﻈﮭﺮ ﻣﺴﺘﻘﻼً ﺑﺬاﺗﮫ ﯾﻘﻮم ﺑﺤﻞ ﻣﺤﻞ اﻟﺼﻮرة اﻷدﻣﯿﺔ ﻟﻠﻤﻠﻚ أو اﻟﻤﻠﻜﺔ ﻣﻤﺎ ﯾُ َﻤﻜﻦ ﻋﺒﺎدة (أو ﺗﻤﺠﯿﺪ) اﻟﻤﻠﻚ أو اﻟﻤﻠﻜﺔ ﻛﺈﻟﮫ، واﻟﻌﻜﺲ ﺻﺤﯿﺢ، ﻓﺈذا ُﻛﺘﺐ إﺳﻢ إﻟﮫ أو إﻟﮭﺔ داﺧﻞ ﺧﺮطﻮش ﻓﮭﺬا ﯾﺠﻌﻠﮫ أﻛﺜﺮ ﻗﺮﺑﺎً ﻟﻠﻤﺠﺎل اﻟﺒﺸﺮي. he cartouche derives from the times, a kind of cartouche formed by an Egyptian shen-ring, a hieroglyphic elongated oval or square, sometimes T sign depicting a coil of rope tied at crenellated and recalling the structure of a one end, meaning “ring, circle,” the root Sn fortress, was employed to protect names of (shen) expressing the idea of encircling. localities (Baines 1989: 471 - 482, fig. 3a). A Symbolically, the cartouche represents the similar enclosure, the so-called serekh, or encircling of the created world by the sun “palace façade,” was used from the First disc—that is, the containment of “all that the Dynasty onward to surround the king’s Horus sun encircles.” Originally, the shen-ring was name. probably an amulet formed from a length of The convention of enclosing the king’s name papyrus rope looped into a circle with an in a cartouche initially appeared on royal additional binding. The cartouche is an monuments and may possibly date back as elongated shen-ring, extended to accommodate early as the First Dynasty (Baines 1995a: 127 - and magically protect a royal name (Barta 1970: 128), although there is currently little 5 - 16). conclusive evidence to support this The practice of encircling a written name to supposition. Recent work on early writing may ensure its protection is ancient. In Predynastic well shed light on the question (e.g., Kahl Cartouche, Spieser, UEE 2010 1 1994). The cartouche was first used to enclose the king’s birth (given) name. The earliest attested example of an enclosed birth name— that of Third Dynasty pharaoh Huni, found on a block at Elephantine—is doubtful (von Beckerath 1984: 35). Well attested, however, Figure 1. Lunette of private stela from reign of are examples on royal monuments of Sneferu Amenhotep III (Louvre C54 - N208) shows the (Fourth Dynasty) and his successors. By the throne name of Amenhotep III as a winged middle of the Fifth Dynasty, during the cartouche, replacing the traditional sun disc of regency of Neferirkara, the newly instituted Horus Behdety. throne name is also enclosed within a cartouche. The first occurrence of the use of cartouches to enclose queens’ names appears in the Sixth Dynasty. At this time we find the birth names of Ankhnesmeryra I and her sister Ankhnesmeryra II, also called Ankhnespepy— both wives of Pepy I—partially contained: cartouches enclose only the components “Meryra” and “Pepy,” these being the king’s Figure 2. Throne name of Ramesses II written throne and birth names, respectively. This within a solar disc, resting in a solar bark. Stela Cairo convention reflects the queen’s position as JE 43.690. “king’s wife,” but may further indicate, in a sense, that the king’s cartouche also became a part of the name of the queen, perhaps opening the way for queens to have their own names placed in cartouches. The name of queen Ankhnesmeryra I occurs in a private burial monument; that of Ankhnesmeryra II is found in her small pyramid at Saqqara (Grajetzki 2005: 22 - 23). From the Middle Kingdom Figure 3. Cartouches enclosing throne and birth names of Ramesses III, venerated by princes. onward, cartouches enclosed the queen’s entire Temple of Medinet Habu. birth name (Grajetzki 2005: 40 - 41; Troy 1986: 134, 160); the birth name remained the only The king’s throne and birth names enclosed queen’s name to be enclosed by a cartouche. in cartouches form a kind of heraldic motif Occasionally epithets (both royal and non- expressing his dual nature: the birth name royal) or god’s names could also be included. represents him on a terrestrial level as a human being, chosen by the gods, and the throne Function and Meaning name represents him as an incarnation of The purpose of the cartouche is to protect the divine power (Baines 1995b: 9 - 19). The two royal name, the name embodying, cartouches may appear as a substitute for the supernaturally, the ruler’s identity. Moreover, anthropomorphic image of the king, but they as a solar element depicting “all that the sun are not its equivalent. When cartouches are encircles,” the cartouche establishes a parallel used iconically, they reflect the king’s divine between the sun and the pharaoh as long as he essence, in contrast to his anthropomorphic rules (figs. 1 - 4; Grimal 1986: 57 - 60; image, which is bound to his terrestrial aspect. Wilkinson 1994: 193 - 195). Iconic cartouches could be worshipped by private individuals as an equivalent of the sun Cartouche, Spieser, UEE 2010 2 Figure 4. Cartouches adored by Aye and Tiy. Tomb of Aye, el-Amarna. disc. They could also manifest the king in the role of various deities such as Horus, Horus Behdety, Ra, and Amun (Spieser 2000: 61 - 67; figs. 1 - 5). The throne name was traditionally the most important and the one by which most kings were known during their rule. Toward the end of the New Kingdom more complex forms of the throne name emerged (Baines 1998: 21). In the New Kingdom, the cartouche enclosing the queen’s birth name is displayed, although very rarely, as a representation of the queen’s divine image. In the Ramesside Period the phenomenon is more prevalent and the queen’s cartouche is sometimes shown protected by gods or goddesses (fig. 6). Figure 5. Cartouche of Thutmose IV. Cairo Cartouches in Writing Museum. The king shown as composite emblem with falcon’s head, feet, and tail, and human arms; The cartouche isolates and foregrounds the his “cartouche” body encloses his throne name. name in a text while also magically ensuring the Iconographic version of “the king slaying his name’s protection. The cartouche could be enemies.” written horizontally or vertically, with hieroglyphs oriented to the left or the right, or from top to bottom. The cartouche is generally preceded by a title referring to the enclosed name. The king’s throne name is entitled either nswt bjtj, “He of the sedge and the bee” (reading uncertain), mostly translated “King of Upper and Lower Egypt”/“Dual King” or nb tAwj, “Lord of the Two Lands.” His birth name is entitled either Figure 6. Cartouche of Nefertari protected by a zA Ra, “Son of Ra,” or nb xaw, “Lord of vulture goddess. Small temple of Nefertari, Abu Crowns/Appearances” (von Beckerath 1984: Simbel. This type of iconography is used for both 38). queens and kings without distinction. Cartouche, Spieser, UEE 2010 3 Most often one royal name is enclosed within representation of the god. Cartouches enclose, a cartouche; however, from the end of the for example, the names of Osiris and Horus in Sixth Dynasty through the Middle Kingdom their numerous variants, Horakhti, Amun-Ra, sometimes two royal names are enclosed. In and Anubis, among others. A cartouche of a such cases the throne name precedes the birth divinized king, such as Amenhotep I, name within the cartouche; sometimes the functioned in a similar manner. Whereas the throne name is itself preceded in the cartouche royal cartouche reveals some idea of the by an epithet, such as nswt bjtj (von Beckerath divinity of the king, the use of the cartouche 1984: 185 - 220). From the Fourth Dynasty for gods’ names displays an intent to bring the onward, it became the practice (although it was gods to a level closer to the human sphere. not systematic) to include the epithet zA Ra Gods’ names enclosed in cartouches appear, within the cartouche of the king’s birth name on the one hand, in a context deriving from (for example, the birth names of kings Teti and royal ideology that associates them with the Pepy I are preceded by this epithet; von solar disc; on the other hand, they are also Beckerath 1984: 184).
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    oi.uchicago.edu JAN 1 0 1992 RESEARCH ARCHIVES -DIRECTOR'S LIBRARY THE ORIENTAL INSTITUTE UNIVERSITY OF CHICAGO EGYPTOLOGY AT THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO Internet publication of this work was made possible with the generous support of Misty and Lewis Gruber Oriental Institute, University of Chicago Printed by University of Chicago Printing Department, 1983 On the cover: Painted Decoration at Medinet Habu Cleaned by the Epigraphic Survey oi.uchicago.edu ,At work in anlent Thebes. I dorm - . oi.uchicago.edu The Oriental Institute and the World of the Pharaohs n the desert west of the Nile, an Egyptologist scrutinizes the traces of an inscription on a temple wall: comparing an artist's drawing with the wall itself, he will occa- sionally add a line to the drawing or take one away. Earlier the wall was photographed in fine detail, but since a camera cannot discriminate between the effects of weathering and the signs carved by an ancient craftsman, an artist working di- rectly on an enlargement of the photograph made a drawing that allows the carvings to be distin- guished from accidental marks. When the drawing was completed, the photograph was bleached out, leaving a facsimile of what survives of the original craftsman's work. Now the Egyptologist is checking for any trace of ancient carving that the artist might have missed, or any clues that might have escaped the camera s eye. The Egyptologist, the photog- rapher and the artist are members work in Egypt concentrates pri- Artist comparing drawing with of a team of specialists working on marily on the documentation of the the original scene.
  • Graffiti-As-Devotion.Pdf

    Graffiti-As-Devotion.Pdf

    lsa.umich.edu/kelsey/ i lsa.umich.edu/kelsey/ lsa.umich.edu/kelsey/ iii Edited by Geoff Emberling and Suzanne Davis Along the Nile and Beyond Kelsey Museum Publication 16 Kelsey Museum of Archaeology University of Michigan, 2019 lsa.umich.edu/kelsey/ iv Graffiti as Devotion along the Nile and Beyond The Kelsey Museum of Archaeology, Ann Arbor 48109 © 2019 by The Kelsey Museum of Archaeology and the individual authors All rights reserved Published 2019 ISBN-13: 978-0-9906623-9-6 Library of Congress Control Number: 2019944110 Kelsey Museum Publication 16 Series Editor Leslie Schramer Cover design by Eric Campbell This book was published in conjunction with the special exhibition Graffiti as Devotion along the Nile: El-Kurru, Sudan, held at the Kelsey Museum of Archaeology in Ann Arbor, Michigan. The exhibition, curated by Geoff Emberling and Suzanne Davis, was on view from 23 August 2019 through 29 March 2020. An online version of the exhibition can be viewed at http://exhibitions.kelsey.lsa.umich.edu/graffiti-el-kurru Funding for this publication was provided by the University of Michigan College of Literature, Science, and the Arts and the University of Michigan Office of Research. This book is available direct from ISD Book Distributors: 70 Enterprise Drive, Suite 2 Bristol, CT 06010, USA Telephone: (860) 584-6546 Email: [email protected] Web: www.isdistribution.com A PDF is available for free download at https://lsa.umich.edu/kelsey/publications.html Printed in South Korea by Four Colour Print Group, Louisville, Kentucky. ♾ This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper).